Published in 1949, Shane by Jack Schaefer is an uneven but irresistible Western about a boy’s coming of age. With elements of hero worship, the short novel is narrated in retrospect by a Wyoming homesteader’s son named Bob, an only child whose parents take kindly to a dark stranger with a mysterious past.
The child describes Shane as possessing “a kind of magnificence”: “He rode easily, relaxed in the saddle, leaning his weight lazily into the stirrups. Yet even in this easiness was a suggestion of tension. It was the easiness of a coiled spring, a trap set.” When Shane agrees to stay on the farm and whacks at a stubborn old tree stump as he bonds with Bob’s father, Joe Starrett, amid a looming property dispute with a bullying cattle driver, the boy’s mother questions whether any of this is good for the family, including the boy and especially Shane, whom she and everyone falls for in a way.
It’s all there in Schaefer’s clipped prose. Even the kid is aware that, for all the mastery, fancy duds and shiny gun, “it puzzled me that a man so deep and vital in his own being, so ready to respond to father, should be riding a lone trail out of a closed and guarded past.” Tension builds as the cattleman villain, who seeks government contracts, taunts and baits Shane into a confrontation that envelops the whole town. As Joe watches over his property, the wife worries, the kid snoops and the cowboys, townies and homesteaders take up sides. The loner contemplates whether taking on the villain is worth being thrown off his own trail.
As the narrative alternates between life at home with Shane and the parents and the gathering storm, suspense builds and the boy learns life lessons from the man he idolizes. That Shane is portrayed as a better man than Bob’s father complicates and limits the story and makes it too elusive to have a lasting impact but there is good writing here. “Listen, Bob,” Shane tells the kid one day. “A gun is just a tool. No better no worse than any other tool, a shovel — or an axe or a saddle or stove or anything. Think of it always that way. The gun is as good – and as bad – as the man who carries it. Remember that.”
Schaefer interjects Shane into the Starrett family with aplomb and the result is a complex portrayal of a young Western family at the mercy of a stranger, which is what makes Shane a rare psychological mystery about how he impacts the boy, the Starretts and the town, which is “still not much more than the roadside settlement”. The character, portrayed by Alan Ladd in the 1953 motion picture version, is so remote as to render the plot almost surrealistic, though when he lets loose, Shane comes into focus. “And then the summer was over,” Schaefer writes in a plain, evocative transition. “School began again and the days were growing shorter and the first cutting edge of cold was creeping down from the mountains.” The way out West stays and lingers in Shane, culminating in a conflict that shapes a landscape, a family and a man and, mostly, delivers a simple campfire story that’s well told.
In the introduction to The Wonderful Wizard of Oz by L. Frank Baum, illustrated by W. W. Denslow, the Chicago author writes that he aspires to create a “modernized fairy tale, in which the wonderment and joy are retained and the heart-aches and nightmares are left out.” Since it was published in 1900, his Oz stories, and this one in particular, have earned an enduring literary and cinematic legacy. Whether Baum achieves his goal is open to debate. But his main character, Dorothy, embodies the virtue of loyalty to herself in this coming of age tale about developing good character as the essence of adulthood.
Not that Baum had that in mind or even explicitly identifies the theme in his short children’s novel (I read the Signet Classic edition). But that’s what his fairy tale means, with Dorothy, who lives “in the midst of the great Kansas prairies, with Uncle Henry, who was a farmer, and Aunt Em, who was the farmer’s wife”, as the child on the brink of becoming an adult. As in MGM’s classic 1939 musical, her loyalty to herself is often displayed through her fierce protection of her smart and scrappy little dog, Toto.
The fantasy’s three wise men, Scarecrow, Tin Man and Cowardly Lion, carry the action throughout the strange, dark world of Oz. Baum’s original tale is less fanciful than the film, of course, without music and Technicolor and with the Wicked Witch of the West relegated to a single short section toward the end of the story. Here, unlike the film, the witch does not track the quartet with a crystal ball; their misfortunes and challenges arise organically most of the time. This allows for the depth of characterization that comes from a resourceful trio that each already embody the qualities they seek.
For example, Scarecrow confides to Dorothy that, with his head filled with straw, he wonders: “how am I ever to know anything?” The Tin Man, among the most developed characters, tells her that when he was a woodsman, he fell deeply in love with a Munchkin girl that lived with an old woman who “was so lazy she wished the girl to remain with her and do the cooking and the housework.” Intent upon stopping their union, the old woman enlists the Wicked Witch, who keeps cutting off the man’s body parts until his whole body is made of tin. But he keeps coming back until, finally, the girl cannot return the love of the one who is no longer the man with whom she fell in love. One day, it rains and he is left without his oilcan to rust in the woods. As the Tin Man tells Dorothy: “It was a terrible thing to undergo, but during the year I stood there I had time to think that the greatest loss I had known was the loss of my heart. While I was in love I was the happiest man on earth…”
The Cowardly Lion, too, considers himself deficient in certain ways while struggling to find courage. Each of the three represents the three basic literary conflicts; Scarecrow, who through no fault of his own is born without a brain, represents man versus nature; Tin Man, who is decapitated by an old woman’s wicked accomplice, represents man versus man and the Cowardly Lion, who goes after little dogs to mask his own fear, represents man versus himself. With Oz as the place to get mystical resolution, each eventually discovers that there is no such thing. Instead, they learn that it’s a hard life and that they will have to achieve their fullest virtues in action and earn their way to a joyful life. As the wizard, who is flawed but kind, tells Dorothy, “everyone must pay for everything he gets. Help me and I will help you.”
For her part, the witch is cruel. When she learns that the girl whose house landed on and killed her sister is traveling with an entourage, she tells a pack of uber-wolves: “Go to those people and tear them to pieces.” The witch is both magical and evil but her powers are less than omnipotent and, as a villain, she is an ultimately small and insignificant slavemistress. The violence depicted is jarring and the subtext of a modern girl trying to make sense of the world around her is compelling, and, if Baum’s story remains unusual, dark and strange, it is also engrossing and still relevant over 100 years after it was published. The theme of making one’s own character in a cruel yet beautiful world remains a striking piece of fiction, especially for a character that’s a girl. At one point, take-charge Dorothy, whose journey in Oz differs in significant ways from the MGM film adaptation, steps up and plainly asks: “Can you straighten out those dents in the tin Woodman, and bend him back into shape again, and solder him together where he is broken?” This can-do Midwestern spirit permeates a classic American children’s tale.
The Ugly Duckling by Hans Christian Andersen (English translation by H.P. Paull, illustrations by Ripple Digital Publishing Corp.) is a brilliantly written fable. I recently re-read it and found that, in its own way, the tale repudiates collectivism and egalitarianism – the idea that everyone should be regarded as equal in everything – with a clever inversion.
Without revealing the story’s twist, the duckling is born ugly, which he can’t help. Other ducks ridicule, even assault, him just for being different. His own siblings spurn him. At first, his mother defends him until, seeking others’ approval, she finally says she wishes he had never been born.
After more rejection and abuse, he flees his family for another group’s domain, where he is told that he will be tolerated as long as he doesn’t marry into the collective. He moves on to a group of wild ducks, facing the threat of the huntsman. With shots firing, and birds falling around him, the Ugly Duckling chooses to think; he hides, waits and bides his time to leave when it’s safe. When he does depart, he is exceedingly cautious. He takes nothing for granted. It’s the first hint that he might be better than everyone else. This is made explicit in the next part of the story when he is castigated by a hen for thinking he’s better than others as he finds himself among a trio of misfits. “Do you consider yourself more clever than the cat, or the old woman?” asks the hen. “Don’t imagine such nonsense, child, and thank your good fortune that you have been received here.”
The Ugly Duckling refuses to be humble. In encounter after encounter, he senses that he might be special. He sadly moves on after each episode, seeking happiness, and the lonely path he takes exacts a heavy toll. That he sees himself as he truly is only when he makes himself ready to give up climaxes the moral of the story, which is a kind of fable about authentic self-esteem. Adversity makes you stronger is certainly part of Andersen’s point but The Ugly Duckling is not, as is sometimes claimed, merely about being different. It is also a tale about discovering and becoming aware of one’s potential. The notion that one should accept himself as he is, recognizing limitations and strengths and accepting that life is hard, and pain is temporary, is obviously relevant to those who are different. But this story is also, and not as obviously, meaningful to the one who is better than others yet unaware of the truth.
As awards shows have proliferated, they have become proportionately meaningless except as the equivalent of momentary outbursts of some sort of cultural display. Miley Cyrus comes to mind. The Oscars used to revel in glamor, though less and less so. The Grammys would indicate the general state of popular music. And so on. This makes Robert Downey Jr.’s appearance at this weekend’s Kids’ Choice Awards, concocted by Nickelodeon and sponsored by Bounty, Toyota and Cinnamon Toast Crunch, less a leading cultural indicator than merely another high point lost in the increasingly wild and swirling news cycle that long ago ceased to be filtered by sound judgment from rational minds.
It doesn’t help that Robert Downey Jr. (Iron Man, The Soloist) appeared to accept an award called Best Male Buttkicker. Ours is a fast-moving era that encourages short-range, fragmentary half-thoughts instead of long-range, contemplative rationality as that awards title suggests. That’s too bad because Downey, an actor who is heroic in real life for having beaten the monster of drug addiction, an enormous achievement in a confusing world, said something important. That he chose to say it to an appropriate audience, children, with clarity of topic and theme, is impressive.
Accepting the award, he told the audience: “You know I wasn’t always a buttkicker. In fact, life has kicked my proverbial butt countless times in many ways for many years, until I decided one day to start kicking back. Now look at me!” Cashing in on what that really means, he pointedly turned today’s rampant look at me! self-centeredness into something more constructive, adding, as a poignant afterthought: “Remember when life is kicking your butt, never forget to kick it back right in the face.” In this context, Downey’s is a well-told lesson in self-renewal; that life means fighting, being assertive and, if necessary, self-defensive with the aggression aimed to hit the right spot. Too often in life we are told to passively yield, accept, resign and be at peace, or let it be or let it go, regardless of context. Downey’s words are a crucial and urgent counsel to today’s scoreless, overtested, indoctrinated youth to do the opposite and choose to judge, reject victimhood and if necessary fight back. What he said goes against everything today’s youths are being taught and propagandized. What he lives by example – and projects onto the screen – offers the youthful of all ages proof that life is worth fighting for.
Chicago businesswoman Marva Collins brought logic to learning when she rocked the Windy City years ago with her radically rational approach to education, as Susan Crawford, RN, recently reminded readers on her Rational Parenting List (RPL). Like the basketball coach in one of my favorite sports-themed movies, Coach Carter, Ms. Collins confronted the reality of government-run education in the ghetto with reason, optimism, and determination, not determinism.
Teaching that one should examine ideas before accepting them, she started teaching troubled students in her own home, opened her own school, wrote a book, Marva Collins’ Way, and became the subject of a television movie starring Cicely Tyson (read my review here). Today, she insists that “there is a brilliant child locked inside every student.”
Explaining her program on her Web site, Ms. Collins writes: “The child is taught to refer to what has been learned previously to support an opinion. References come from many different sources, from poetry, newspaper editorials, magazines, great speeches, novels, or any other written material. Everything everywhere provides potentially excellent material for developing reasoning skills…Textbook word-for-word, lock-step methods never make good critical thinkers. There is a difference between word reading and word understanding. And, there is a difference between knowing how to read, and loving to read.”
In the wake of news that the President of the United States will deliver a speech urging government control of medicine, a growing number of parents are planning to pull their children from government-controlled schoolson Tuesday, September 8, when the President delivers another speech. The White House announced some time ago that President Barack Obama’s address to primary education students would be carried live to the nation’s government schools, with government-established lesson plans, one of which originally assigned students to “write letters to themselves about what they can do to help the president.” Obama’s speech will be shown live on the White House Web siteand on C-SPAN at noon ET on Sept. 8.
“Districts in states including Texas, Illinois, Minnesota, Missouri, Virginia, Wisconsin have decided not to show the speech to students. Others are still thinking it over or are letting parents have their kids opt out,” Associated Press (AP) reports. Government school districts are apparently responding to the opposition. A district near Houston, Texas, plans to show the American president’s speech but, in the words of its spokeswoman, “we would not force them to listen.”
Gee, thanks. This is another example of the Obama administration’s determination to use every available means to indoctrinate the nation’s youth, as the Bush administration did to promote similar expansion of government controls, and use propaganda. This time, patriotic Americans are speaking up, taking action, and actively opposing the government’s rules.
Good for their kids and good for America. We need such principled acts of opposition to government control of our lives more desperately than ever. In fact, the Republican Party, which is dominated by those who would implement government control for God or Judeo-Christianity, should learn a lesson from the patriotic parents. The Grand Old Party (GOP) would be wise to repudiate its religionism, stand united for inalienable individual rights (which inherently means the right to an abortion), and unanimously walk out of President Obama’s socialized medicine speech to Congress the following night.